منصوره تدینی

Atar Neishabouri, a poet of the 6th and 7th centuries of Hijri, and Naser Khosrow Qabadiani, a philosopher and poet of the 5th century of Hijri, borrowed from the Holy Quran and hadiths in their works. This influence of the Holy Quran can be found in their works in two structural (form) and content forms. In this research, which was carried out in a descriptive-analytical method, the methods and patterns of the structural and content influence of Attar Neishabouri and Naser Khosro Qabadiani from the Holy Quran were explained and the goals of this influence were investigated. The results of the research show that borrowing, interpretation, translation, and allusion are patterns of structural influence in the works of Attar Neishaburi. One of the important forms of Attar Neishabouri and Naser Khosro Qabadiani's literary effect of the Qur'an is allusion, and the allusion is that the poet's and writer's mind is only influenced by the Qur'anic verse or prophetic hadith, not that the verses or hadiths are directly translated from Arabic to Persian language. In addition to Quranic allusions, Semitic-Arabic and Greek allusions can be found in Nasser Khosrow Qabadiani's poems. Attar Neishabouri and Naser Khosro Qabadiani have pursued goals such as "warning and warning, encouragement and excitement", "testification through comparison with expression of preference", "specific interpretation" and "expression of beliefs" with the influence of the Quran.

New lyric and epic poetry are the two main trends of contemporary Persian poetry, which have been formed following the language and content of Nima's classic poems and his free poems. Most of Nima's poems and his innovations are in "free poetry" or "Nima" which have a social aspect and are placed under "socially committed poetry". In some of these poems, "the language of new lyric poetry" has been combined with the language of "new epic poetry" for some reason. In the present study, relying on the poems of Nima and Ahmad Shamloo, the why and how to combine the lyrical language in poems that have a social aspect has been discussed. The results show that Nima and Shamloo use lyric language in social poetry for two very important reasons. Creating artistic ambiguity and creating "symbol" or "symbolism" is the main reason for this combination. The lyric poems in such poems make the audience doubt the interpretation of the poem in a social or romantic way, and this method makes their social poems can be censored by an authoritarian government. The lyric poems in such poems make the audience doubt the interpretation of the poem in a social or romantic way, and this method makes their social poems can be censored by an authoritarian government.

The following article examines one of the religious foundations of the Mehr religion called "The Myth of Descent and Ascension" in Ganjavi Nezami’s Haft peykar and Masnavi. The purpose of writing the article is to highlight the common beliefs of Masnavi Haft peykar and Mehr religion about descent and ascension.

This article has been compiled using a descriptive-analytical method with comparison and interpretation. The method of collecting information has also been a library.

The concept of descent is one of the important and frequent themes of mystical literature, which also has a wide expression in spiritual masnavis. In Masnavi, it is mentioned about the sadness of parting and the obstacles to ascension, the desire for ascension and connection, and the relationship based on love between man and God.

Rumi believes that the most important factor in a person"s downfall is the cycle of self-righteous love and the pain of parting in a person. In the Masnavi, heaven means the place of closeness to God, and therefore the descent is the separation of the soul from its original source, and the ascension is the loss of a drop of the soul in the sea of truth. The myth of ascent is emphasized more in Haft peykar; The main hero experiences a stage of recognition and introspection in this test by walking in the seven domes, which has many similarities with the seven steps of Mithras. The stories of Haft Gonbad are also surprisingly compatible with Mithraic themes and rites.

To change the way of expression and develop the meanings and themes of their poems, poets use many and diverse methods, and a group of these methods are called "arts of expression". There are other methods for effective expression and ways of developing meanings that are not specifically and specifically discussed in the topic of literary arts, but they are just like the arts and sometimes more effective in creating effective poetry. These methods are referred to as "meaning cultivation ways". The ways of cultivating meanings and innovation in the way of expression make the literary work come out of monotony and make it accepted by tasteful and interested readers, for this reason, no matter how diverse the speech is, it will be lively and dynamic for the attractive audience. The main goal of this research is to find the ways of developing the content in the poems of the constitutional era.

Study method In this article, which is written in a library method, the methods of developing meanings in the poems of the constitutional era are examined and analyzed.

Among the ways of developing meanings, in the poems of the constitutional period, anecdotes and narratives, descriptions, similes, similes, and satire are used more.

The poets of this period pay a lot of attention to details and nature in their descriptions, and they have used the art of space creation to mention the maximum details and to accurately describe. Constitutional poets turn to allegory and humor to communicate their reform ideas and revolutionary messages and use it as one of the ways of developing meanings.

The new theory of metaphor interprets metaphor from a different angle in the light of cognitive semantics. This theory, proposed by Johnson and Lakoff, is more or less in line with some of Aristotle's statements about metaphor. In the present study, using the descriptive-analytical method, the conceptual metaphors of emotions (love, hope, despair, and anger) in the poems of Ahmad Shamlou have been investigated. The results show that one of the most important target areas in Shamul's poetry are "feelings and emotions", of which love, hope, despair, and anger are the most frequent. In order to express each of these emotions, from the primary areas such as building, light, heat, space, plants, living beings (birds and animals), water, music, food, business, treatment, power, all kinds of tastes (bitter and Shirin, etc.), keys, magic, alchemy, tools, secrets, objects (mirror, chains, etc.) have been used. Among these emotions, "love" has the most cases. Although Shamlou has used familiar things in many fields of origin, his mappings (phrases and poems) are such that he has created new correspondences in the field of conceptual metaphor. The domains that Shamlu used to materialize love are water and its metaphors (sea, river, spring, thirst, dew, river), light and its metaphors (fire, morning, sun, moon, star, dawn, flame, light), animals (horse, bird, butterfly, bee), plant and its metaphors (grass, tree, forest, branch), secret, key, music, nutrition , power, tool, peak, mirror, building, madness, travel, business and therapy.

In myths based on Douboni"s beliefs that creation is formed on the basis of two identical and opposite gems; Wisdom, which is the source of thinking and reasoning, is divided into two parts: Ahura"s benevolent wisdom and Ahriman"s wisdom. Deceit is a tendency towards demonic wisdom in order to do ungodly and reprehensible things. Also, choosing the best type of thought and deliberation for sinister and wrong purposes is called wisdom. The purpose of the present research; The discovery of similarities and contrasts in these three magnificent epics has been universal.

This research was written in a library method and analytical-descriptive way based on the comparison of the concept and examples of dezhkheradi in Ferdowsi"s Iliad and Odyssey and Shahnameh. and has tried to show the types of this reprehensible and demonic wisdom by giving similar or different examples of wisdom in three epic texts, Iliad, Odyssey, and Shahnameh.

In Ferdowsi"s Shahnameh, which is based on the centrality of wisdom, the wisdom of the heroes and kings and the results of their tendency to misguided wisdom have been examined, and in the Iliad and the Odyssey, the wisdom of the gods of Olympus, which should be the basis of wisdom, has also been found and examined. Is.

In the beliefs and beliefs of ancient Iran that appeared in Ferdowsi"s Shahnameh during the stories; We find this kind of negative wisdom that is harmful to good people only on the part of Divan and demons and evil-minded people, while the adoption of such reprehensible wisdom in the Iliad and Odyssey both on the part of snakes and warriors, on the part of ordinary people, and on the part of goddesses and Divan. Heaven and gods are seen.

Songwriting or composition is the link between the art of music and literature and poetry, and songwriters are the link and the language of the sounds of music. In this research, which was done in a descriptive analytical manner and based on measurement and conclusion between the compositions of three famous songwriters (Ismail Nawab Safa, Bijan Taraghi and Houshang Ebtehaj); The aim was to recognize and study the poetic mission and commitment to moral principles and human values ​​in poetic elements such as thought, language and music, imagination and emotion in the compositions and songs of these songwriters.

The purpose of the song in this research; It is a literary and imaginative text and word that is written on the melodies of composers and the song is not meant in the specialized sense of literary genres. In this study, intellectual differences were seen between Ebtehaj and Nawab Safa songs and progress in the field of thinking. Nawab Safa and Taraghi, and after them, Ebtehaj, had popularized a kind of song / drama or storytelling in a songwriter that was in a naturalistic atmosphere and close to the style of social symbolism. Themes of Nawab Safa and Taraghi songs; Love and lover and natural elements such as fire and caravan, hunter and cage; Tears and loneliness, etc. But the themes of Ebtehaj songs were revolution, victory, bullets, blood, martyrdom and love. Their goal is to calm the people, while maintaining and relying on the traditional values ​​of the Iranian religious community, to observe moral etiquette such as democracy and appeasement, etc. in a missionary and committed style in that turbulent situation.

Nima Yooshij's theories about poetry and poet are in his previously published collections and the process of his poetic developments can be drawn from them; moreover, there are many other poems of Nima Yooshij in the last two books, which are very important in the analysis of his poetic developments. In the current research, we have examined these two collections by considering the most important theories of Nima, including paying attention to symbolism, declamation and the natural process of speech, descriptive and narrative pattern, objectivity and subjectivity, harmony, and transubstantiation. The results show that Nima has a great interest in classical literature in addition to western literature in order to achieve symbolism. In addition to the dramatic structure, Nima uses the capacity of "narrative" and "story" to express the content and tries to blend with nature and provide an objective and external description of it, unlike classical poetry. Nima does not see classical poetry as having a body-like unity and puts all the elements of the poem in the direction of creating a harmonious composition, which he calls "harmony" and "form".

The present essay examines the mythological and epic characters of Ferishte in Ferdowsi's Shahnameh and uses Pahlavi books as a supplement and evidence. The purpose of this research was to take a closer look at the mythological and epic nature of Fereste and examine the conceptual distinction between the use of Fereste in the Shahnameh and in the sources of the Shahnameh. In order to deeply understand these distinctions, it is inevitable to divide the types of use of the messenger and the Minoan messengers that are interpreted as "angels" in common usage, along with the attributes and characteristics of the messengers and the motives of sending the messenger in the national epic, have been examined.

This research was done in a library method and descriptiveanalytical method based on comparison, interpretation and explanation.

The studies and investigations of this research have shown that some attributes and characteristics of the messengers and the double importance of the messenger in the epic are taken from Shahnameh sources such as Pahlavi and Avesta works.

In this article, the term "angel" refers to the supernatural beings who have been assigned and sent by Ahura Mazda to carry out both their helping and messaging actions. The characters of these messengers are a model for messengers, couriers and war ambassadors in verse epics such as Ferdowsi's Shahnameh.

Poets when leaving the conventional norms, innovate weird tricks in the language and content for the resurrection of their word through defamiliarization to create a relationship with their audience in a new abs large spectrum, and change their normal perception and call this art resurrection, literary technique. Norm-evading is among the considerable approaches of transforming language as literary material into a poem that is in the mind of the creative group as long as don’t damage the original expression. Leach, the English linguist, considers norm-evading as the tool of poem creativity. The present article tries to investigate and analyze norm-evading in Yadullah Royaii’s poems based on Leach’s eight patterns (the syntactic, periodic, conceptual, wordily, styling, writing, dialectical, and vocal norm-evading) and with an analytic-descriptive method pays to the norm-evading components of Yadullah Royaii’s poems, the volume-oriented poet. The results show Yadullah Royaii, the contemporary poet and reviewer, has used some methods and tricks in this way which include: Balancing (poem melody): any extra-normative type: the conceptual extra-normative and defamiliarization. The predominant aspect in every collection of Royaii’s poems is different compared with other poem collections, and Royaii has benefited more from a part of those tricks depending on the time of composing the poem and the evolution of his linguistic experiences in each one of his poetic collection.

Ahmad Shamloo, a contemporary Iranian poet, by understanding the existing capacities in Persian language and mastering classical literature, especially prose texts, and his unique creativity, by using various linguistic techniques and achieving the natural aspects of speech and music by changing In the structure and content of poetry, Nimai was able to establish another type of poetry, which we call Sepid poetry, so the purpose of this study is to show literary creativity, using linguistic tricks and techniques and new conceptualizations. Relying on a collection of poems is included. The desired data has been collected using first and second hand sources in the library environment. Then, based on the objectives and dimensions of the present study, the data have been studied in a descriptive-analytical manner. The naturalness of the word and the political and social outlook combined with the weight of the words that have highlighted and distinguished his poetry. And tell how the poet has changed the structure and content of contemporary Iranian poetry and established a new style of poetry.

Folk beliefs include myths, stories, poems, music, oral history, proverbs, jokes, popular beliefs about luck and sore eyes, mother lullabies, indigenous carols, mirrors, rituals and traditions, and are always full of spirit. With tyranny and blackness and perseverance against oppression. The themes in the folk poems of Khuzestan about the war express the background of oral literature, culture, history, geography and the birth of committed and committed poetry that shows the resistance and stability of the people of this region during the war. The most important purpose of this study is to find ethical components such as commitment in oral literature and folklore related to the war in Khuzestan province.

Khuzestan poetry and its literature are related to its unique environment. The poetry of this region, due to the climatic affiliations of the poets, has many indigenous elements that confront us with a special type of poetry that by examining it, on the one hand, we can become more familiar with the indigenous elements of Khuzestan and on the other hand We become a special poetic style in which each poet composes poems based on his own spirits and incorporates climatic elements into his poetry with a certain elegance. Considering that Khuzestan province, as the center and cradle of stability and resistance during the war, is imposed, the poems and popular literature of this province are undoubtedly influenced by the holy war and defense, and by looking at these poems, we find that they are full of moral components. Because they are commitment.

“Paradise” is one of the concepts common between myths and religions. This paper uses an analytical-descriptive method to study the concept of Paradise, the origin of which is different in religions, and there is existence of commonalities of this aspect. The existing similarities and shared view of the Paradise indicate the conceptual commonality of this word in rituals. The religion of Islam uses the Paradise in the form of the word “فردوس” and considers it as a reward for the pious and righteous. In other religions, too, the high-frequency of Paradise in religious books suggests a broader concept of it. In other words, its purpose is to be close to God and the Creator of the universe to achieve immortality. Mythical man, by imitating the gods who are immortal, wants to join eternity and open the wings to the infinite world and immortality from destruction in the immortal universe. He has tried to build a utopia on Earth and his image of the Paradise that bears a complete resemblance to the worldly Paradise. The Paradise-like cities imitated from the heavenly ones and built on Earth were analyzed in this paper. Examples of the mythical heroes of Shahnameh who tried to build Paradise on the Earth were mentioned.

Style is the expression of a writer or poet. The term is currently used to refer to methods studying literature analytically through the use of linguistic techniques and concepts. It also determines the angle of view, linguistic issues, how to characterize and how to orient thetheme. Ritual poetry is a form of committed poetry that has a completely religious nature in terms of meaning and content and originates from the revelatory teachings, the culture of Etrat and Wilayah and the history of Islam. Religious ceremonies, praise of religious figures, attention to sacred and heavenly categories, and human self-cultivation and self-purification are at the core of religious poetry.Since stylistics is a tool for recognizing the poet"s human, scientific, literary and ideological identity, this paper uses a descriptive-analytical procedure to investigate obvious stylistic features of Post-Revolutionary Poets such as Kaiser Aminpour,SamanHarati, Ali MoallemDamghani,Ali MousaviGarmaroodi, Seyed Hassan Hosseini and Alireza Qazveh.

This paper has been written based on library studies in a descriptive-analytical manner.

Paying attention to internal music, giving prominence to ideas and concepts, using the marked vocabularies, fluency and simplicity, eloquent elements artistically, making pictures of imagination and emotion, paying attention to addressee-centered and meanings, emphasizing on religious, revolutionary, humane and ideal concepts are among the stylistic features ofRevolutionary Poets.

The results show that these poetshave used all the possibilities of poetry to explain their religious ideas and based on these ideas and the Alavi, Hosseini and Ashurathemes, they can be called conceptualist poets. A look at the literary and linguistic aspects of their poetry shows these poets know the literary and linguistic standards of the past and present and wherever they deem appropriate, they use them to increase their wordinfluence.

It is in line with the history of Iranian literature of stability and resistance that committed poetry is formed in the eight years of the Holy Defense. The themes of this poem express a kind of oral literature specific to Khuzestan province that has been hidden in the voices of local people for many years and has been a symbol of resistance and stability of the people of this region in different eras. In this research, which has been formed in two descriptive-analytical and field methods, through library methods and face-to-face interviews with narrators of sacred defense and old speakers, the effect of oral literature of this region on the poetry of stability and resistance of eight years of the Sacred Defense has been investigated. The findings of this study, which were collected through phishing, critique and analysis of written data and presentation of oral documents, indicate the rich history of oral literature in the province. The results of this study contain clear insights such as the identity and independence of this literary genre and its effects on committed poetry.